By Giovanni Gabrieli (1553-1612). Arranged by Eric Swisher. For 2 trumpets, 2 trombones,flugelhorn, 2 euphoniums and tuba. Brass - Brass Choir; Masterworks. Eighth Note Publications. Baroque; Masterwork Arrangement; Renaissance. 32 pages. Published by Eighth Note Publications

Arranged For Cello And Guitar. Composed by Franz Schubert (1797-1828). Edited by Zuill Bailey. Arranged by David Leisner / Zuill Bailey. Romantic. Set of parts. With Standard notation. Composed 1824. D. 821. 32 pages. Duration 24 minutes. Theodore Presser Company #144-40627. Published by Theodore Presser Company (PR.144406270).

Grade 4

SKU: CL.012-3945-01

Composed by Ludwig van Beethoven. Arranged by Poor. Concert Band. Symphony Band Series. Audio recording available separately (item CL.WFR368). Extra full score. Composed 2010. Duration 5 minutes, 12 seconds. Opus III Wind Orchestra Publications #012-3945-01. Published by Opus III Wind Orchestra Publications (CL.012-3945-01).

The lush and haunting sounds of Beethoven's universally loved Moonlight Sonata are faithfully brought to life in Andrew F. Poor's colorful setting for band. Listeners and performers alike will be able to imagine Beethoven sitting at a piano as the sounds of the band dramatically emerge from the musical score. As an added feature, this beautiful setting includes an optional piano part that, along with the band, are sure to make this work a favorite with both your students and audiences alike. Perfect for any concert or contest program.

Clarinet solo

SKU: P2.30123

Composed by Aleksandar Obradovic. Solo music, 20th century. Published by Potenza Music (P2.30123).

Aleksandar Obradovic's Mikro-sonata is a piece that unfortunately disappeared from the clarinet repertoire when it went out of print, but is now back in a new edition. Its first two movements are early explorations of the potential of multi-phonics and other extended techniques for clarinet. The fanciful, jazz-inspired Praeludium draws the listener in and provides a stark contrast for the haunting tones of the Arietta that follows. A quirky, but fun Fughetta rounds out the composition, challenging the clarinetist to highlight a theme that would normally be found in imitation, but in this case is presented by a solo instrument. Obradovic, perhaps the most prolific and respected twentieth-century Serbian composer, dedicated both this work and a previously composed clarinet concerto to his countryman Milenko Stefanovic, who first recorded each of them.

Bass trombone or tuba and piano

SKU: P2.80062

Composed by Johann Galliard. Arranged by Micah Everett. Solo music, 18th century. Published by Potenza Music (P2.80062).

These settings of the Galliard bassoon sonatas grew out of a perceived need for more intermediate-early advanced solo literature for the bass trombone, as well as more settings of Baroque-period works for that instrument. While the sonatas are playable on the bass trombone in their original keys (whether at pitch or down one octave), by setting them in lower keys I have endeavored to make them useful for developing tone quality and technique in the valve register, while not going so low that clarity and facility might be compromised (as can be the case when playing in the original keys down one octave). The new keys I have chosen for each of the sonatas are closely related to the original ones, in every case down a perfect fourth or perfect fifth, so something of the sound of the original keys is maintained. Other than the key changes I have made very few adjustments to the intervals in the solo or left hand keyboard parts; in the places where I have done the most editing I have provided cues for the original intervals and/or rhythms so that the player can choose whether to perform the simplified part I have provided or something closer to the original. The new keys (as well as copyright considerations) necessitated that I provide entirely new figured bass realizations for the accompanist's right hand. These are entirely my own, though in the early stages of this project I did consult with Professor Stacy Rodgers, my colleague and collaborator at the University of Mississippi. I have provided more than a simple harmonic accompaniment in my realization; each movement has a number of short melodic passages to provide interest in the keyboard part for both performer and listener. Still, I have been purposefully reserved in writing these parts, and in no case should the keyboardist feel obligated to strictly adhere to the part as I have written it. I have left the figured bass in the score so that the performer can modify and/or build upon what I have provided, particularly in the repeats (as Professor Rodgers did when playing and recording one of the sonatas with me). I have labeled the accompaniment part simply as keyboard with the understanding that these sonatas were originally intended for performance with harpsichord (assisted by cello or bassoon) or organ, though I am sure that the vast majority of performances of these arrangements will have piano as the accompanying instrument. My keyboard part has thus been written with that instrument in mind. If performing with harpsichord assisted by cello or bassoon those players will need to make adjustments in places where the bass lines extend below the ranges of their instruments. While I am confident that my right hand part is a faithful realization of the harmonic structure indicated by the composer, no attempt has been made either in my keyboard realization or in my light editing of the solo part to adhere to present scholarly conventions regarding the interpretation of early music. I have constructed these arrangements to meet the needs of twenty-first-century student (and professional) bass trombonists, and thus I have provided the interpretive markings which I believe will yield the most pleasing performances on that instrument. That said, I have sought to be modest in my indications of tempo, dynamics, articulation, and ornamentation, as these sonatas will admit varying interpretations in those respects. Performers and teachers are welcome and encouraged to experiment in order to find the interpretations which they think most effective. Although I originally created these arrangements with the bass trombone in mind, I am sure that they will work equally well on tuba. Due to range considerations similar to those I mentioned above for the bass trombone, they might be particularly better-suited to performance on the F or E-flat tubas than previous editions of these sonatas. I am looking forward to using these arrangements with my students on both instruments, and hope that others will find them useful, as well.

Keyboard

SKU: HH.HH570-SOL

Composed by Henri-Joseph Rigel. Edited by Michael Talbot. Playing score. Edition HH Music Publishers #HH570-SOL. Published by Edition HH Music Publishers (HH.HH570-SOL).

ISBN 9790708185857.

Rige l’s keyboard music is a relatively neglected area within his oeuvre. This edition of his first published collection – a set of six sonatas for solo harpsichord or piano issued in 1767 – seeks to bring it to the attention of players and listeners. These highly idiomatic sonatas display the richness and pan-European character of Rigel’s musical inheritance. In them we hear a blend of influences drawn from the Italian tradition of galant keyboard music, the drama-filled world of the German symphony and the intimate milieu of French pièces de clavecin.

Keyboard

SKU: HH.HH569-SOL

Composed by Henri-Joseph Rigel. Edited by Michael Talbot. Playing score. Edition HH Music Publishers #HH569-SOL. Published by Edition HH Music Publishers (HH.HH569-SOL).

ISBN 9790708185840.

Rige l’s keyboard music is a relatively neglected area within his oeuvre. This edition of his first published collection – a set of six sonatas for solo harpsichord or piano issued in 1767 – seeks to bring it to the attention of players and listeners. These highly idiomatic sonatas display the richness and pan-European character of Rigel’s musical inheritance. In them we hear a blend of influences drawn from the Italian tradition of galant keyboard music, the drama-filled world of the German symphony and the intimate milieu of French pièces de clavecin.

(Classical Play-Along Volume 18). By Johann Sebastian Bach (1685-1750). Classical Play-Along. Softcover with CD. 8 pages. Published by Hal Leonard

Classical Play-Along Volume 3. By Jean-Baptiste Loeillet. Classical Play-Along. Play Along. Softcover with CD. 9 pages. Published by Hal Leonard.

(Classical Play-Along Volume 19). By Johannes Brahms (1833-1897). Classical Play-Along. Softcover with CD. 16 pages. Published by Hal Leonard

Recorder performed by Marion Verbruggen, Viola da gamba performed by Mary Springfels, Harpsichord performed by Arthur Haas. For Recorder. Recorder Method (Suzuki). CD. 1 pages. Published by Alfred Publishing.

Edited by Joanne Haroutounian. Instructional book for piano. Series: Explorations in Music. Published by Neil A. Kjos Music Company.

Recorder performed by Marion Verbruggen, Viola da gamba performed by Mary Springfels, Harpsichord performed by Arthur Haas. For Recorder. Recorder Method (Suzuki). CD. Published by Alfred Publishing.

Violin

SKU: AP.44719

Volume 8. International Edition. By Linda Perry and William Preucil, Jr. This edition: Performance/Accompaniment CD; International. Method/Instruction; String - Violin (Suzuki); Suzuki. Suzuki Violin School. CD. Alfred Music #00-44719. Published by Alfred Music (AP.44719).

ISBN 9781470627508. UPC: 038081508375. English.

Teach violin with the popular Suzuki Violin School. The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Violin School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and works with their Suzuki violin teacher to develop their potential as a musician and as a person.

This performance/accompaniment CD of the Suzuki violin method, Volume 8, is integral for Suzuki violin lessons and features recordings by William Preucil Jr. and piano accompaniments by Linda Perry, as well as piano accompaniments recorded alone.

Titles: Sonata No. 11 in G Minor (Eccles) * Tambourin (Grétry) * Largo from Sonata No. 3 in C Major, BWV 1005 (Bach) * Preludio from Sonata in E Minor, BWV 1023 (Bach) * Allegro from Sonata in E Minor, BWV 1023 (Bach) * Largo Espressivo (Pugnani) * Sonata in E Minor (Veracini).

About Suzuki Method

The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music.

Flute - Intermediate

SKU: FH.FLR06

2010 Edition. Composed by The Royal Conservatory. Overtones: A Comprehensive Flute Series. Book/Piano Accompaniment/CD. The Frederick Harris Music Company #FLR06. Published by The Frederick Harris Music Company (FH.FLR06).

ISBN 978-1-55440-294-6.

Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental repertoire and supporting materials such as Studies, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study.This compilation of standard orchestral passages for flute is an indispensable resource for the developing years and beyond. Teachers and students will find this unrivalled volume essential for examination or audition preparation.
Sonata in E Minor, op. 3, no. 7 (complete) Jean-Baptiste Loeillet, arr. Kathleen Wood
Sonata in G Minor, op. 2, no. 3 (complete) Benedetto Marcello, arr. Kathleen Wood
Sonata in A Minor, op. 17, no. 3 (complete) Johann Christian Schickhardt, arr. Kathleen Wood
Sonata in D Major (complete) Leonardo Vinci, arr. Kathleen Wood
Intermezzo Karl Joachim Andersen
Tico Tico Zequinha Abreu, arr. Alan Gout
Trois pieces pour flute et piano, op. 31 (complete) Arthur Foote
Soliloquy Harry Freedman
Barcarolle melancolique, op. 72, no. 1 Charles Edouard Lefebvre
Red Bossa Gary Schocker
Capriccio, op. 3, no. 3 Franz Weiss
Essay Louis Applebaum
Musefully listening, nursing a thought Jack Behrens.

About Overtones

Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental Repertoire and supporting materials such as Etudes, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study and is the official series for those using The Royal Conservatory Music Development program.

By Carol Barratt. For Piano. Folk, Blues, Classical. 64 pages. Published by Music Sales

Chamber Music flute, piano

SKU: CF.WF228

Philippe Gaubert. Composed by Philippe Gaubert. Edited by Amy Porter. Arranged by Amy Porter. Set of Score and Parts. With Standard notation. 104+1+32 pages. Carl Fischer Music #WF228. Published by Carl Fischer Music (CF.WF228).

ISBN 9781491153529. 9 x 12 inches.

Compiled and edited by Amy Porter, Treasures for Flute and Piano is acollection of Philippe Gaubert’s shorter works for flute and piano. Gaubertwas a multi-talented musician, a marvelous flutist as well as a composer,teacher, and master conductor. Over his lifetime, he became one of the mostimportant musical figures in France between the World Wars in the first halfof the 20th century. Trained in theory and harmony at the Paris Conservatory,Gaubert was also deeply influenced by other composers at the time, includingDebussy, Fauré, and Dukas. Editor Amy Porter is a distinguished Professorat The University of Michigan School of Music, Theatre & Dance, and hasbeen praised by critics for her exceptional musical talent and her passion forscholarship. This edition represents eleven of the sixteen works from AmyPorter and Dr. Penelope Fischer’s video study guide, “The Gaubert Cycle: TheComplete Works for Flute and Piano by Philippe Gaubert”.
Philip pe Gaubert (1879–1941) was a very important teacher and flutist in our classical flute playing lineage. In this edition we have gathered his beautiful, shorter compositions for flute and piano all in one place, to be cherished as “Gaubert’s Treasures.”Philippe Gaubert personified the modern French school of flute playing as introduced by his teacher Paul Taffanel (1844–1908) at the Paris Conservatory. Gaubert was a multitalented musician, a marvelous flutist as well as a gifted composer, teacher and master conductor. Over his lifetime he became one of the most important musical figures in France between the World Wars in the first half of the twentieth century. Gaubert’s musical andpedagogical gifts to us are passed along through generations of students and continue to touch the hearts of many who listen to his fine, and refined, music.Philippe Gaubert studied composition at the Paris Conservatory with Raoul Pugno, Xavier Leroux, and then for a brief time with Charles Lenepvu. It was after this study that he won the famous Prix de Rome second prize in composition. Even with his schooling of theory and harmony in Paris, he was deeply influenced by other composers of the time, namely Debussy, Fauré and Dukas. Between the years of 1905–1914 Gaubert’s early workswere arrangements and short pieces written for the year-end final exam pieces at the Conservatory.Between 1914–1918 Gaubert served in the French Army during World War I, most notably in the battle of Verdun in 1916. This was considered one of the largest battles against the Germans in WWI. He was wounded but his creativity level was not dampened. He was rewarded for his service and awarded medals for his bravery. It was during this time that he found the energy to compose his Deux Esquisses or 2 Scenes, and sketched out his first flute sonata.Gaubert composed his remaining five flute and piano works after 1922 in Paris, and clearly his poetic soul was transformed from the earlier years. He took in new forms and styles of compositions such as a Suite, a Ballade and a Sonatine. He also completed his Second and Third Sonatas for Flute and Piano, all of them dramatic works in terms of compositional techniques and grandeur of tone.Gaubert composed music easily throughout his lifetime, especially during summer breaks when the orchestra and Paris Opera seasons were on hiatus and he was not conducting. He loved literature and poetry which inspired over thirty vocal works from 1903 through 1938.He also wrote twenty-six instrumental chamber works for other instruments: oboe, cornet, clarinet, trombone, violin, viola, cello, harp and combinations of these instruments with piano. Some of these were commissioned jury pieces, but many were for his musician friends.Six full-length stage works, both ballets and operas for the stage, several tone poems and symphonies were written throughout his lifetime.This edition represents eleven out of the sixteen works from our video study guide “The Gaubert Cycle: The Complete Works for Flute and Piano by Philippe Gaubert” with guest pianist Tim Carey. Omitted in this edition are Sonatas Nos. 1–3, Ballade, and Sonatine.

Guitar

SKU: AP.42082

Volume 3. Guitar Part. By Andrew LaFreniere and Seth Himmelhoch. This edition: International. Guitar (Suzuki); Method/Instruction; Suzuki. Suzuki Guitar School. Book and CD. 20 pages. Alfred Music #00-42082. Published by Alfred Music (AP.42082).

ISBN 9781470635077. UPC: 038081521558. English.

The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Now available as Book and CD kit. Titles: Nonesuch * Greensleeves * Packington's Pound * Ghiribizzo (Paganini) * Waltz from Sonata No. 9 (Paganini) * Andantino (Carulli) * Calliope (Lesson 61) (Sagreras) * Etude (Carulli) * Etude (Coste) * Arietta, Theme and Variations (Küffner) * Celeste y Blanco (Ayala).

About Suzuki Method

The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music.

Violin

SKU: AP.48726

International Edition. By Hilary Hahn and Natalie Zhu. This edition: Performance/Accompaniment CD; International. MakeMusic Cloud; Method/Instruction; String - Violin (Suzuki); Suzuki. Suzuki Violin School. CD. Alfred Music #00-48726. Published by Alfred Music (AP.48726).

ISBN 9781470644161. UPC: 038081560373. English.

Teach violin with the popular Suzuki Violin School! The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Violin School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and work with their Suzuki violin teacher to develop their potential as a musician and as a person.

This CD of the Suzuki violin method, Volume 2 features recordings by Hilary Hahn in collaboration with pianist Natalie Zhu, as well as piano accompaniment only tracks for play-along purposes.

Titles: Study Points for Volume 2 * Chorus from Judas Maccabaeus (Handel) * Musette, Gavotte II or the Musette from English Suite III in G Minor for Klavier, BWV 808 (Bach) * Hunters' Chorus from 3rd Act of the Opera Der Freischutz (Weber) * Long, Long Ago (Bayly) * Waltz, Op. 39, No. 15 for Piano (Brahms) * Bourrée from Sonata in F Major for Oboe, HHA IV/18, No. 8 (Handel) * The Two Grenadiers, Die beiden Grenadier, Op. 49, No. 1 for Voice and Piano (Schumann) * Theme from Witches' Dance (Paganini) * Gavotte from Mignon (Thomas) * Gavotte (Lully) * Minuet in G, Wo0 10, No. 2 (Beethoven) * Minuet from Sei Quintetti per Archi No. 11, Op. 11, No. 5 in E Major (Boccherini). This title is available in MakeMusic Cloud.

About Suzuki Method

The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music.

2 pianos, 4 hands

SKU: BO.B.3641

Composed by Daniel Basomba. Published by Editorial de Musica Boileau (BO.B.3641).

These Three Studies for Four-handed Piano were conceived of as a triptych whose unifying principles were to be the first-slow-fast movement order of the classical sonata and a symmetrical arrangement of tonalities with A major occupying the centre (F minor- A major- C minor). The term Studies alludes not so much to the 19th century pedagogical concept of pieces-as-exercises, as to an attempt to extend, investigate and study the possibilities of expression and texture of the piano for four hands.

The First Study is generated out of a single rhythmical motif whose development is modified by the intervention of two contrapuntual passages. A certain difficulty of execution arising from the need to cross hands in both sections of the keyboard conforms, in this case, to the traditional definition of study as an exercise focussed on a specific technical problem.

The second piece might be defined as a study of expression, being the explicit disposition of an ostinato accompaniment and two superior voices in conversation. I cannot help, listening to this study, being reminded of the texture of the slow Largo of Bach's Concerto for 2 violins and the manifest pathos of the Andante of Prokofiev's 2nd Violin Concerto.

The Third Study is an exercise in rhythmical interpenetration in which continual changes of accentuation and metre are combined with passages of a light and mellifluous character.

It is a long-standing ambition of mine to supplement this work with three more triptychs and, so, complete a set of twelve studies for four-handed piano.

Flute - Beginner

SKU: AP.0166SX

Volume 1. Piano Acc.. Composed by Dr. Shinichi Suzuki. This edition: International. Method/Instruction; Suzuki; Woodwind - Flute (Suzuki). Suzuki Flute School. Book. 24 pages. Alfred Music #00-0166SX. Published by Alfred Music (AP.0166SX).

ISBN 9781470638627. UPC: 038081528779. English.

Teach flute with the popular Suzuki Flute School! The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Flute School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and work with their Suzuki flute teacher to develop their potential as a musician and as a person. This accompaniment book aids in Suzuki flute lessons.

Titles: Mary Had a Little Lamb (Folk Song) * Fireflies (Children's Song) * Kagome Kagome (Children's Song) * Cuckoo (Folk Song) * Lightly Row (Folk Song) * Twinkle, Twinkle, Little Star Variations (Suzuki-Takahashi) * Go Tell Aunt Rhody (Folk Song) * Amaryllis (Ghys) * Allegro (Suzuki) * The Honeybee (Folk Song) * Long, Long Ago (Bayly) * Lullaby, Op. 98, No. 2 (Schubert) * Moon over the Ruined Castle (Taki) * Minuet, Minuet III from Suite in G Minor for Klavier, BWV 822 (Bach) * Minuet, BWV Anh. II 114/Anh. III 183 (Bach) * Minuet, BWV Anh. II 116 (Bach) * Bourrée from Sonata No. 3 in G Major for Flute and Basso Continuo, Op. 1, No. 5, HHA IV/3 No. 5 (Handel) * Fingering Chart.

The International editions include an updated title page that designates the book as the International Edition.

About Suzuki Method

The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music.

(Music, Movement and More! The Music Magazine for Grades K-6). Composed by Kris Kropff. For Games, Unison choir (2-part choir), Orff instruments, Boomwhackers and CD Included. General, Patriotic. Book and CD. Published by Heritage Music Press

Chamber Music Flute, Horn, Piano

SKU: PR.114424380

Composed by Eric Ewazen. Sws. Score and parts. Theodore Presser Company #114-42438. Published by Theodore Presser Company (PR.114424380).

ISBN 9781491138076. UPC: 680160693467. 18 x 12 inches.

If you love playing Eric Ewazen’s flute sonatas or horn chamber music, or if you are fan of Brahms’s chamber music, then this exhilarating work is for you! Among Ewazen’s most performed works, the TRIO, inspired by the Brahms horn trio and originally for Violin, Horn, and Piano, has been adapted by the composer for Flute, Horn, and Piano. With a rollicking scherzo and beautiful melodic movements, this 21-minute work is a joy to play and to listen to.
I’ve always been fascinated and inspired by chamber works offering several instrumental versions of the same piece, resulting in a new feel and color. One famous example is the great Franck Sonata, originally for violin and piano, and beautifully arranged for flute and piano by Jean-PIerre Rampal. Subsequently other versions of the piece were created for an array of instruments: cello, oboe, clarinet, saxophone, and even tuba!  Creating this flute version of my TRIO (flute replacing the original violin part), considered the range, allowing the flute to sometimes sing in a bright, higher register than the original violin part; passages where there were double stops in the violin now have arpeggiated figurations. The original scoring for Horn, Violin, and Piano was commissioned by and gratefully dedicated to Chamberosity, representing an homage to one of my favorite chamber pieces of all time, the Trio for Horn, Violin, and Piano by Brahms. Having both performed (on piano) and analyzed that work, I so loved Brahms’ wonderful weaving of the colors of the instruments, creating an almost orchestral color palette. For years I wanted to write a trio for the same combination, and when my friends in Chamberosity were enthusiastic about me writing that piece for them, I was delighted. The four movements are modeled after the Brahms, with a slow-fast-slow-fast scheme to the entire work. A gentle, somewhat mysterious first movement accumulates depth and momentum as it proceeds, only to return to the gentle world of the opening. The second movement is a rip-roaring scherzo, a true energetic dance with melodies tossed back and forth from the violin to the horn, while the piano provides a resonant accompaniment, inserting its own lively melodies as counterpoint to the violin and horn. The third movement is filled with melancholy, with long lyric melodies appearing sometimes as solos, sometimes as duets, and sometimes as a chorale with all three instruments singing their soulful songs. The final movement, following an austere, dramatic introduction, turns into a grand fugue, with a jumping fugue theme full of life and excitement, culminating in the themes heard in augmentation, strong and bold.

Guitar - difficult

SKU: HL.49034669

Sonata for Guitar. Composed by Olli Mustonen. This edition: Saddle stitching. Sheet music. Gitarren-Archiv (Guitar Archive). Classical. Softcover. Composed 2004. 16 pages. Duration 15'. Schott Music #GA543. Published by Schott Music (HL.49034669).

ISBN 9790001138932. UPC: 884088154783. 9.0x12.0x0.062 inches.

Mustonen's Sonata for Guitar takes the listener to the legendary world of Finnish myths and epics, with courageous heroes guiding the fate of the northern country and wizards roaming the endless woods.The sonata was named after Jahkin Iivana. Iivana (1843-1911) was one of the last great representatives of the traditional runic chant and a master of the Finnish national instrument, the kantele. Mustonen has succeeded in imitating the sound of the Finnish national instrument for the guitar in a fascinating way and created an atmosphere which makes the magic of the mythical worlds almost tangible.